The Return - the highly anticipated second recording by the eclectic ensemble Deep Energy Orchestra on the 7D Media record label. Deep Energy Orchestra blends sounds and rhythms from Prog Rock, Classical, funk, Indian, and Flamenco styles and showcases the compositions of Jason Everett aka Mister E. Featured artists on the record include, Fareed Haque (Billy Cobham, Zawinal Syndicate), V. Selvaganesh (Shakti with John McLaughlin), Trey Gunn (King Crimson), Neyvili Radhakrishna (Jonas Hellborg), Ujwal Nagar (Advaita), Suhail Yusuf Khan, and the Seattle Metropolitan Chamber Orchestra…

'Here We Go 1, 2, 3' is Heidi Talbot's fifth solo album. Produced by musical partner and husband, John McCusker, (himself recently the recent recipient of the Good Tradition honour at the BBC Radio 2 Folk Awards) Heidi's new album crosses the ages, jumps into the unknown, traverses oceans and musical styles – from folk, through Americana, to classic pop, and back again…

A pioneer and the first one ever to perform Jazz on the pan flute, Damian Draghici is a virtuoso who has proven his mastery and documented his fresh and innovative approach to jazz on this instrument. The album features groundbreaking emotive music, innovative, virtuosic genres and original sounds mixed in new and inventive ways. This eclectic collection of songs features legendary musicians, such as Arturo Sandoval, Michel Camilo, Chris Botti, Eddie Daniels and a stellar cast of first call players. Together they deliver new versions of some choice standards plus compositions by Charlie Parker, John Coltrane and Lee Morgan, Pat Metheny, and many more. You will be amazed by the virtuosity and the beautiful playing of this eclectic collection. It’s a must-have for any jazz aficionado.

"Necromechanical baroque", that is the province of Cult Of Lilith. A frantic collision of death metal, prog, complex classical structures and any other style they wish to incorporate, their debut album, Mara, is a restless, constantly shifting collection that is as imaginative as it is compulsive.

Yawning Man are an enigma. The mostly instrumental, part-surf guitar, part-psych, part-desert rock outfit have been in existence for 30 years and are spoken of in hushed tones, for they are credited with helping corrupt the young minds that went on to form Kyuss and Queens of the Stone Age. And yet if you didn’t live in Palm Desert, California or repeatedly watch Inside Out, a superb skateboard movie made by Gullwing Trucks in 1988, then you probably didn’t hear their music until at least five years into the 21st century.

Official download of the Angel Olsen live stream 06/18/20 from Echo Mountain. For the first in this series, Angel Olsen will be performing Half Way Home, her debut album, (almost) in full in addition to other rarities, streaming from the Church at Echo Mountain Recording in Asheville, NC.

As suggested by its title, Harder…Faster sees veteran Canadian rockers April Wine taking things up a notch with relentless slabs of hard rock in "I Like to Rock" and "Ladies Man." Also on hand is a memorable cool groover called "Say Hello," a curious cover of King Crimson's "21st Century Schizoid Man," and the dual personality of "Tonite," which alternates between quiet balladry and all-out riffing…

The two albums included on this spectacular double-disc collection were recorded for the Argo label in Chicago in 1960 and 1962, respectively. The first five cuts all feature Lorez Alexandria in the company of the Ramsey Lewis Trio (with Redd Holt and Eldee Young), plus guitarist John Gray. The last five tracks on disc one feature this quartet plus Frank Foster, Frank Wess, Joe Newman, Al Grey, and Freddie Green from Count Basie's group of the time. Ultimately, Early in the Morning is the most sophisticated kind of blues recording. The musical arrangements are both groove-laden and wonderfully impressionistic, allowing Alexandria's unusual delivery line plenty of space to play with on tracks such as "Trouble Is a Man," "I Ain't Got Nothing But the Blues"…

There are some works which seem to be suspended in their time. La Damnation de Faust is a visionary project which took decades to become known as a chef-d’oeuvre, firstly in the rest of Europe and then in France, but posthumously. Today it is an emblematic work, built up of anthological pieces fro orchestra and choir and soloists’ aits which remain in our memories. Its interpretation by François-Xavier Roth in concert version enables us to hear this work with force and the audacity of early Berlioz: sombre but brilliant.

While there have been several John Coltrane Atlantic years compilations, the 2017 single-disc anthology Trane: The Atlantic Collection is one of the most concise and useful introductions to the legendary saxophonist. Focusing on the years 1959 to 1961, Trane: The Atlantic Collection offers up a thumbnail sketch of Coltrane just as he entered the first truly individualistic stage of his career. Previously, he had primarily made his mark as a sideman with trumpeter Miles Davis, with whom he had just recorded the landmark Kind of Blue, when he signed with Atlantic. Backed by a formidable cadre of musicians, at times including pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones, Coltrane embarked on a creatively fruitful period in which he recorded some of his most influential original pieces…

Another in a series of undiluted blues-rock offerings from guitarist Walter Trout, Relentless, his 11th disc since 1990, doesn't offer any surprises. Released in conjunction with a DVD, the album was recorded live in the Netherlands club The Paradiso on a single day with little post-production sweetening or audience intervention. This results in a successful balance between sonics and concert sparks. For those who relish his by now standard brand of sturdy, guitar-heavy, Stevie Ray Vaughan-inspired music, Trout is in fine fret-shredding form here. But fans who'd like to see Trout swim in some new waters will find little of that on this outing.

Sound Mirrors suggests that 1989's What's That Noise? wasn't a slick fluke, but that there are actually two Coldcuts. There's the Coldcut who sound like they're controlling the uncontrollable with jagged shards of hip-hop and dance music bouncing joyfully around the room while sneering at the conventional song. Let Us Play!, the unstoppable Journeys by DJ, and their Solid State radio program all fall into this category, all featuring maverick music that made the un-ironic guest appearances of Lisa Stansfield and the bubbly/forgotten Yazz on What's That Noise? seem like youthful pop folly…